Who could have foreseen all the heady forms 80s revivalism took as it finally blossomed into nu-rave, dance-punk, and neo-goth? More to the point, who could possibly have predicted the wild mash-up glitter parties where disco gets cranked with so many other bizarre forms? Where silvery orchestras up the disco ante with doom-space funk? Where zombie throwbacks rock in 80s electro glory? Where disco gets jacked-up with ghetto? Prepare for a night of surreal retro kitsch, large doses of sci-fi fantasy and funky electro mischief.
The multi-genre doom and disco fusion of Chrome Hoof comes together in an unholy live show – a danceable mix of intergalactic disco and satanic menace. Leo (bass player for dirge-metal legends Cathedral) brings the doom, Milo (producer of electronic freakbeats under the monikers Kruton and 5 Mic Cluster) brings the disco; the ten-piece orchestra of talented instrumentalists brings the texture and the glitter-funk, while singer Lola Olafisoye injects the soul.
Their oddness is matched only by the bizarre 80s flashback world of Kavinsky and his comic book, TV show, early video game aesthetic. Part new romantic, part goth, part electro and part bling, Kavinsky is an embodiment of the reckless and unexpected from his tragic early death and revival to his unbeatable disco crank.
Surkin, though, gives both a run for their money production as he presents the next generation of ghetto-tech in electro form. Taking cues from on one hand DJ Assault and other Detroit ghettotechers like DJ Nasty, Dj Godfather or Disco D, and on the other from the glammer, glitterier sounds of Todd Edwards and late nineties French house like Jess & Crabbe, Cassius, and Daft Punk, Surkin has souped-up his sound and slowed the rpms into sexy disco, but does it BIG. His live sets are renowned for their raucous unpredictability led by youthful, Institubes spontaneity. Surkin’s breakthrough Ghetto Obsession, caned by the likes of Justice, was definitely just the beginning.
The disco-distortionists will be flanked by Berlin DJ multi-talent Shir-Kahn’s kaleidoscope of chunky techno, nu-rave and jacked-up disco, Leonard de Leonards laptop freak-out electro, and cranked by the visuals of Play collective all night long.
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